Category Archives: Music Education

Parallel Processing

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In the past, I was pretty much an “all or nothing” type of person when it came to studying, writing, recording or performing. Meaning, I would exclusively focus on one area, say studying, for an extended period of time, at the expense of the other areas that are important to me. The great thing about that is you get really focused on a particular subject. The bad thing is all forward motion in any other areas stops completely.

For a long while, I had been wanting to divide my time between study and production. Ideally studying early on in the day with some sort of production later.

So one of my main goals for the first quarter of this year was to do exactly that. Once I got a workable schedule in place, I loved it. It was tremendously rewarding to see progress being made in so many different areas that interest me.

I think the key to allowing all of that to happen was to limit how much time I gave any one area of focus. That made space for everything else.

For my studies I continued with my 5 minutes per subject approach for a variety of subjects: ear training, guitar studies (music reading and chords/rhythm parts), bass, keyboards (scales and chords), songwriting/chord progressions, notation and vocal exercises.

Along with that I started incorporating online studies with courses on Lynda.com (Photoshop, Omnisphere, Battery, Performing with Ableton Live) and Groove3.com (Superior Drummer, Ableton Live 10 Explained, Creating Realistic MIDI Strings, Creating Epic Cinematic Compositions). These were super helpful in preparing for the album and concert.

I also began alternating days of focus. One day of new material, with the next being review of what I had already done. This kept everything very manageable and enjoyable. So much so that I looked forward to studying every day.

For songwriting/production I would do something similar by only allowing 30 minutes per song per day. This helped keep the songs new and interesting throughout the process. It also helped get me “unstuck” when I felt blocked. As soon as the timer went off I would move on to the next song and get positive momentum going again. By the time I came back to the song I was having an issue with I was in a different space and usually found a solution within minutes.

“Nets”

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(Continuing on from the “Welcome to Real World” post…)

Before even meeting my collaborator for Beatcamp @ RealWorld 2018 we received an assignment from the camp director Marc Langsman: select an image from the National Geographic archive that would serve as the basis of inspiration for the song that we would produce during the workshop. 

At first this felt a bit daunting, as there are well over 9.3 million images in the archive, but I held the attitude that I was going to find it quickly and that I’d know it when I saw it. Within 10 minutes I came across this fantastic photograph taken by Oliver Apicella:  

To me, it said everything about what we would be doing for the project: casting our nets, hoping to catch the big fish – inspiration.

Fortunately my collaborator, Patrick Hill, agreed and suddenly we were working together in the same direction. (Great idea, Marc!) We also agreed to create a completely new song, just for the camp and that everything would be done from scratch.  

From there the song came together rather quickly. We had the chord progressions, riffs, melodies, lyrics, arrangement and drums all done on the first day of the camp. The next day we built the song up by tracking bass, guitars, piano and vocals. The final day of the camp we recorded a violin solo, edited the tracks, mixed it all down and gave it the name “Nets”.

You can listen to the entire BeatCamp at Real World 2018 album on Spotify or iTunes/Apple Music.

Aside from having a dream come true (getting to make music at Real World) the camp taught and reminded me of quite a few things:


1) To stay focused on the goal and feel as if it is already done. I’ve been doing this with great success for a couple years now and it helped a number of times during the camp. Particularly given the time constraints and the ever-present temptation to try too many things.

2) Strive to hear my inner voice even in the midst of chaos/activity all around, as well as differing opinions. This doesn’t mean “ignore everyone else”, it simply means don’t forsake my own intuition/vision just because of what’s going on around me.

3) Go with the path of least resistance. E.g. don’t insist that I do something myself if someone else can do it better/quicker. Early on in the camp I made a conscious decision to involve the studio musicians as much as possible. Normally I would opt to do everything myself but here we had a small army of professional musicians/engineers/producers ready and willing to help out. I realized that I should make the most of this opportunity, particularly if I wanted the track to be finished on time.

4) Be open to seeing how someone else might do something. Originally my plan for mixing was to do a first pass myself and then get feedback as to what should be fixed. Then I had the thought “I pretty much know what I am going to do and how it will sound, why not see how a pro would do it”. So I asked the Head Engineer Oli Jacobs if he wouldn’t mind handling it while I looked over his shoulder and he said “sure”. Turns out that this was one of the highlights of the entire camp for me. It was fantastic being able to see his workflow, his choices/decisions and being able to ask him questions as to why. He was super helpful, responsive and kind throughout the process. 

Thanks again to everyone involved in making “Nets” a reality. Here are the credits:

Glenn Schoonmaker (Composer), Patrick Hill (Composer), Nicole Fermie (Vocals), AD Chivers (Vocals), Howard Gill (Drums), Paul Whalley (Bass), Graham Kearns (Guitar), Jonathan Page (Piano), TiiT Kikas (Violin), Oli Middleton (Recording Engineer), Oli Jacobs (Mix Engineer), Tim Oliver (Mastering Engineer), Marc Langsman (BeatCamp Director), Rena Biring (Beatcamp Organizer) 

Welcome To Real World

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Man, what can I say? I am a lucky so and so. I just got back from an amazing time doing a 3 day music production workshop focused on collaboration at Peter Gabriel’s “Real World” recording studios. I have fantasized about making music at this studio since I first read about it in the early 90’s.

“Beatcamp at Real World” is a fantastic experience and I recommend it to anyone that wants to work in one of the world’s finest recording studios with consummate engineers, musicians and producers who are ready and willing to help you make your creative vision a reality. My thanks goes out to everyone involved in making it an incredible weekend that I won’t soon forget.

To read about the song that my collaborator, Patrick, and I made during the camp go here.

Chord Wheel

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This is another book that I’ve had for years and only recently discovered it’s true value/usefulness. Aside from being helpful in determining what scale to use when soloing/improvising or transposing a progression into another key, it’s super useful for songwriting as it can show all the keys that a particular chord can be in. Really glad that I picked this up all those years ago.

Songwriting SOS

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Recently I was getting ready for a trip to Japan and was looking for something to read on the plane. After failing to find anything interesting at the local bookstore, I decided to go through what I already had at home. I ended up grabbing this issue of Sound on Sound from 2011 and I am glad that I did.

In it there is a brilliant article about music theory as it relates to songwriting/production. Here are some of the highlights for me:

• Try using chords from the relative minor/major
• Try using chords from the parallel key (e.g. move from chords in C major to chords in C minor)
• Temporarily switch to harmonic minor
• Use modes as different starting points. E.g. A Dorian where the A Minor chord becomes the i chord and everything is built on the notes from A Dorian (#6)
• Inversions – try different chord voicings, try voice leading as you move from chord to chord
• Schoenberg’s “chart of the regions”/parallel major/minor keys and closely related keys

• Key change to a semitone above while on the V chord
• Adding a new bass note below a triad to create an extended chord, e.g. Ab/F to make F minor 7
• Change the harmonic function of a chord. E.g. Am could be the root of Am or chord ii in G or it could be chord iii in F (see chord wheel for options)
• Modulate up a Semitone
• Can go to any parallel key for any chord in the progression
• Shared notes – e.g. sustain a note, “A”, as you switch other notes from other chords (Ace, dfA, fAc, etc)
• Play the pentatonic scale of the IV chord against the I chord. E.g. E Major Pent against A Major or F Major Pent against a progression in C Dorian

Thanks to Kate Ockenden and Sound On Sound for the great article!

Inner Clock

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For years I had heard about people developing their “inner clock” but had no idea what that really meant in practical terms. I just figured it was people playing with a metronome _all the time_. It wasn’t until I started going through this book that I bought a while back, “Bass Grooves: Develop Your Groove & Play Like the Pros in Any Style“, that I started to see one way of developing it.

Along with stylistic exercises this book has a whole section on playing to a partial click. Meaning, the metronome will only sound on certain beats (e.g. 1 & 3, or 2 & 4 or just beat 1, etc.) of every measure. At first the goal is to simply feel the beat accurately, independent of an instrument. The next step is to play a notated exercise against that click, with the goal of locking in with it yet sounding relaxed and musical at the same time. BPM starts at 40 and gradually moves up to 80.

At first this seemed impossible to me, but I took it slow and started getting the hang of it. I’m still in the early stages but can already feel a difference with my sense of timing. Looking forward to seeing what it can develop into.

Hans Zimmer

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Last year I took the Hans Zimmer Film Scoring course on Masterclass.com and really enjoyed it. While there wasn’t too much technical information in this class it had plenty in the way of mindset and approach that Hans used in various real world situations, which helped him to become one of the most prolific and successful film composers of our time.

I particularly enjoyed doing the assignments, creating compositions based on specific limitations/requirements. My Music Sketch #55 “Perception” was based on the following assignment:

“Think about one of your favorite directors. Find an interview in which he/she talks about the making of one of his/her lms. Use this as a jumping o point to create your own version of a score that’s informed by how the director talks about their intentions behind the film. How can you translate the director’s approach to telling the story into a score that helps serve that narrative?”

The director I chose was Terry Gilliam and the movie interview was about his film 12 Monkeys. The key point I got from the conversation (which inspired the song) was this:

“We seem to be inundated with information. It’s hard to know what the real stuff is, which is the stuff that counts, I think that the hardest thing in modern society is to know what to listen to and what not to.”

Guitar Techniques

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When I first found this amazing magazine about 8 years ago I was blown away. It has so much instructional material for a wide variety of subjects and styles (rock, jazz, country, classical, blues) from some really great players/instructors. The focus is truly on teaching/playing, way more so than any other guitar magazine that I’ve read. Also, it’s really well put together. The writing, notation, photos, audio and video examples are all done at the highest level of excellence. This is the kind of magazine that I’ve always wanted. So glad that I found it!